Unveiling the Inspirations Behind a Literary Maverick
Burn Moor discusses his literary influences, themes of mental illness and reality, and his transition from corporate life to creative pursuits, offering insights into his unique storytelling approach.
Burn Moor, a rising star in contemporary literature, has captivated readers with his profound exploration of the human psyche and the complexities of modern life. His works, including the critically acclaimed debut novel The Brain Drips Yellow and the thought-provoking Beyond the Veil, The Road Leadeth, delve into themes of mental illness, reality, and self-discovery. More’s writing is a masterful blend of inspiration drawn from literary giants like Charles Dickens, Franz Kafka, and Edgar Allan Poe, yet he maintains a distinct voice that is uniquely his own. His ability to weave intricate narratives with a musical quality of language sets him apart as a true artist in the literary world. More’s fearless exploration of existential questions and societal norms challenges readers to confront their own beliefs and desires, making his work both unsettling and transformative.
In this exclusive interview for Reader’s House Magazine, Burn Moor opens up about the influences that have shaped his writing, the personal experiences that drive his storytelling, and his journey from a corporate career to a life of creative freedom. He shares insights into the characters and narratives that populate his novels, offering a glimpse into the mind of an author who is unafraid to tackle life’s most profound questions. Join us as we delve into the world of Burn Moor, a writer who dares to challenge conventions and inspire readers to seek their own paths of self-discovery.
Your writing is influenced by literary giants such as Charles Dickens, Franz Kafka, and Edgar Allan Poe, among others. How do you balance drawing inspiration from these classic authors while maintaining your unique voice and style?
Great opening question. If a person wants to become good at something, regardless of the discipline, he or she will typically seek out the greats in their respective field and study them to understand what made them great. If you want to be a boxer, then you will likely study some of the greatest fighters to see what made them great and how did they become great. What did they study? How did they train? How did they prepare? In the craft of writing, it is no different. I sought out some of the greats to understand what made them so great and, granted, they were masterful storytellers, but what set them apart was their incredible ability to weave words in a truly artful way. I think this was the aspect I was most drawn to in literature. They introduced an almost musical quality in their work. So, when I decide to set my own pen to paper and extract all those haunting thoughts, and fears, and anxieties, and desires, and perspectives that are deeply personal and set them to paper, I can only hope that some of that artfulness I studied and emulated will help to color the ink in a unique fashion.
The Brain Drips Yellow delves deeply into themes of mental illness and reality’s fragility. What personal experiences or observations about society drove you to explore these themes so intensely in your debut novel?
Bill Butler, the main protagonist of The Brain Drips Yellow, was shaped to be the epitome of what one becomes when he pursues all the typical societal mores. In short, he is the common man. Like many of us, he has lived his life adhering to all the things he was taught to do – get an education, establish a career, get married, have kids, and so forth. We create a fine veneer for the world to see and appreciate, but what happens when the cracks begin to appear? Working for several years in the corporate environment I was witness to many people who pursued such a path and seemed to live a life where they “had it all”. But lurking beneath that veneer was something far from the truth. Mental illness is not reserved for the padded cell or the psychoanalyst’s couch – it is just as prevalent in the corporate cubicle.
You have engaged in high-risk activities as a way to combat depression and challenge death. How do these experiences translate into your writing, particularly in terms of developing your characters and constructing your narratives?
Death has always been a prominent thought in my daily life, so it comes as no surprise that it leaks into my writing – the odd dichotomy of suicidal tendencies kept in check by a paralyzing fear of death. The concept of death and, perhaps more frighteningly, the potential nothingness that awaits us beyond death, is something I have always struggled with, but quite ironically, it is when I found myself closest to death by way of adrenaline-charged activities, that I felt the most alive. The character Sebastian in Beyond the Veil the Road Leadeth probably exemplifies these traits most fully. The prospect of death brings natural intensity to life.
In your second novel, Beyond the Veil, The Road Leadeth, you explore the concept of alternate realities and self-discovery. What philosophical or existential questions were you aiming to address through Mina’s journey, and how do you hope readers will interpret these elements?
A theme I battle with in my own life and permeates my books is the question of what we ought to do as opposed to what we truly desire in life. Oftentimes these concepts run contrast to one another and more times than not we, as a society, pursue the path of ought rather than desire. We allow our lives to be shaped by cultural mores to the point that many people completely lose sight of what it means to be passionate. We are taught to settle as opposed to thinking in terms of ideals. In Beyond the Veil, The Road Leadeth, Mina is thrust into an alternate reality where many of these cultural mores are scrutinized. I have had many readers express their displeasure at me for the decisions Mina makes in opting to pursue her passions. The fact that this tends to grate on readers I think is the whole point. It creates discomfort because it challenges some deeply instilled mores and seeking discomfort often leads to personal evolution. We need to question everything even if it makes us uncomfortable.
As someone who transitioned from a corporate career to entrepreneurship and creative pursuits, how has this shift impacted your approach to writing and storytelling? What advice would you give to others looking to make a similar transition?
My transition from a career in the corporate world, to entrepreneurship, into creative pursuits reflects my own systematic dismantling of a life of ought into a life of desire. It is my attempt to practice what I preach – to shun the life that has been shaped for me by others, into a life that is truly of my own choosing. A life as an entrepreneur or a life in the arts may not be for everyone, what matters most is pursuing a life dictated by your own desires and your own passions – to make your life your own — and this path, whatever it may be, should always be evolving. I pursed a path in literature, but very recently, I also pursued a path in music when I became the frontman for the band Pagan Lust. This is not a path I could have ever predicted for myself and yet, I consider it part of my own evolution – my constant attempt at conquering fears and making my life my own.
